It is normal to work hard, isn’t it?

I do understand that I need to be getting to bed to rise early tomorrow.  I do.  I want to get to the art store and back before the day really starts.  If I rise like I’m going to work, get out there and back…I should have the whole day to work either on my painting for Creative Process and/or on my Sketchbook assignments for Figure Drawing.

There was just something that flashed through my mind for a moment, in regard to the MLIS degree.  Part of it is thinking back to a TED Talk which looked at the roots of happiness.  The results of an experiment gone over in said Talk read that when people have many choices and the freedom to change their mind and second-guess their decisions, they tend to turn out less satisfied with their ultimate choice, than when they are given no chance to reconsider.

I also wanted to note that today I felt relief at having found an article I needed to read for class, which gave me an excuse not to have to draw.  Drawing is not really all the time relaxing, you know?  Or maybe it is, and the anticipation of drawing is the thing that bites me.  My issue is that when I’m drawing, I’m constantly making decisions which are not rational or logical, thus they’re hard to understand or predict.  Hmm.  Maybe my left brain and right brain are having a conflict, and the left brain doesn’t want to cede dominance, or something.  😉

Despite this, apparently I’m somewhat gifted where it comes to art…but I don’t understand how that works, or if there even is a why.  I have been thinking on the whole thing about being on the planet to be creative, but still needing to earn a stable source of income (in order to stay on the planet).

M says that if I can find someone who makes a living purely off of art, then I don’t have to go to Library School.  I’m pretty sure I probably could find one, but it’s like a kid who wants to be in the NBA interviewing LeBron James to ask him how he did it, or something.  I think it’s possible to make a living entirely off of art skills, but unlikely, and not for a long time.  In the meantime, I’d probably be doing work I don’t want to do.  (Like, as I saw a while back elsewhere on the ‘net, a Graphic Design job commissioned by some bro…which I probably shouldn’t describe definitely, but the job was sexist and misogynist to the degree that it looked like the troll was paying the designer to let him troll her.)

M and D have said that my comment about not wanting to draw doesn’t sound like something that would come out of an artist.  For me — I do art well, but that doesn’t mean it isn’t stressful.  It’s freakin’ stressful.  I’m pretty sure the feeling has to do with growing new neurons and confronting the fact that there are things I don’t know that I can only learn from failure.  And, as I was thinking earlier today at work, I feel like I fail — largely — when it is simply difficult for me to break even, or excel.  I dropped out of Honors Math when I was a kid because I got a B, which to me meant that I actually got a C, because the school positively weighted all the Honors grades.  So, to me, B meant “average,” which meant not excelling, which meant working my hardest and not excelling.

It really didn’t make me feel very good.  I can see something similar happening with the classes I have taken in Library School, where I think I got three A’s, but I had to struggle and kind of scrape together all my effort to get those A’s.  Master’s classes aren’t like upper-division Bachelor’s classes, and they aren’t like lower-division Associate’s classes.  They are freaking hard. And being challenged and expected to competently meet that challenge — on my own or with the support of my peers, but majorly, in my program, on my own — is stressful.  Especially in the case of the professor whom I can’t remember actually ever lecturing.

At least my English skills are good, but sometimes that can be a setback, as when, in the same class I note above, there were sentences that didn’t make any grammatical sense every few pages.  Grammar wasn’t stressed in my school district, but I can tell when people spout non-sensical sounds (or letters) that are meant to resemble words, which say nothing.

It’s a reason I don’t like listening to politics, because — especially with some of the candidates I really dislike — they will string a group of words together and it makes no grammatical sense and everyone in the audience cheers like it’s a monumental pronouncement.  I know the audience has no idea what was said, because there was no content there to understand.  So they have no idea what the candidate meant, but they cheer anyway because not to do so and to question the candidate’s intent would mean looking like an idiot because everyone else got it!  Right?  NO.  NOBODY GOT IT BECAUSE THERE WAS NOTHING TO “GET.”

Might as well have a Sage Grouse running for President and he can blow up his throat sack and whoop for dominance.

Okay, I’ll try and stop talking about that now.

What was I writing about?

Right — the situation I find myself in right now, allows me the opportunity to explore outside of my primary skill set — reading, writing, comprehension, and possibly analysis.  I’m really struck by the degree of overlap between Art and Creative Writing.  Right now I’m still developing this project…the story one…which I’m tying into my portfolio for Creative Process.

I didn’t realize it at the time, but I was thinking about this stuff back around three years ago; it just hasn’t really had the chance to grow and develop in expressed form, until now.  And…when it’s expressed, it transforms.  It’s like the mandala I was working on last semester:  every time I touch it, it changes.  I’ve had to remind myself that I can always go back to a previous form of the story, in order to be able to record divergences from my original idea.

Right now, it is becoming enough to make either a comic book or short-run graphic novel.  That itself, is kind of scary, but …well, why?  That’s an interesting statement, isn’t it?  That successful creative development is scary?  Why?

Ah, right:  The where does it come from, problem.  Another point where I might be called “talented.”  Not understanding my own abilities tends to freak me out a bit.  I used to think that my medications ramped down the creativity, as it got harder to write as I became healthier.  But no:  maybe it’s just contained, now, instead of spilling out all over the place and into my personal life, etc.  And hey, maybe I can be an author, even with a relatively healthy brain.  😉

Now there’s an unspoken assumption:  that creativity is helped by dis-ease.  Lack of ease probably spurs creative expression, but it doesn’t mean that pain is the root cause of talent.  Maybe healthy people are just generally able to put this in a little box in the back of their mind, or something, and not look at it or into it.

Earlier, I was also thinking that perhaps part of what has been going on over the last decade has been letting go of my dis-ease state as something that in some way defined me or constituted me.  I just remembered this.  Every time I’ve started a new medication, birth control excepted, the state of my mind has shifted to become quieter, or less distracted, or more stable, or less fearful, and less melancholy.  When I was younger, I didn’t understand this, and I felt like something of myself was being taken away from me.

This was what led me to think that I would not be able to write fiction again in a healthy manner — because I was a mess, the last time I wrote fiction.  But maybe, with the art, I can re-link my neural networks to be more positive, maybe more organized, and less…wholeheartedly, on some level, believing in what I’m writing.  Maybe, for people with normal neurotransmitter levels, it is this hard, normally.  Maybe, normally, people try their hardest just to get by — or maybe, even, to excel.

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Wow, I hate to fail. Just, wow.

So…I’m going to seriously have to work on my drawing on Monday.  I’ve got the outline of a scene, and the composition will probably be nice if I do it the way I originally intended to do it.  I’m using some really nice paper which I think is 11″X14″…Right now, it’s taped down to a piece of Hardbord (which takes water better than generic Hardboard, I’ve found).  I’m planning on finishing up what I can of the linework, tomorrow.  I’m uncertain as to whether I want or need to outline everything.  I kind of want to see what it looks like with just colors.

What may not be done by Tuesday night is the color work — I may need to get another palette in which I can lay out all of my colors, and that will likely take up the morning.  The palette only really costs between $4 and $6 (YA•SU•TO•MO YAAA), so it’s not going to break the bank, but it will take a bit of time to go out and get the thing — with prep, that’s probably about two hours out of my day.

(Okay, sorry, I have only recently realized that the wonderful palette I got years and years ago is now being made by Yasutomo.  At the time, it was an expensive palette.  Now, though?  Not so much.)

I should not miss Figure Drawing to work on coloring my image — the time with the model is too valuable.  But it’s tempting.  I have been told, though, that if I have to turn an assignment in late, bring what I do have completed to class, anyway.  I’m definite that it will be done by the end of the coming week, and I’ll be able to resubmit it for grading by the class after next.

On top of that, I was able to secure accommodations, the key one of which (nearly the only one that is applicable or matters) was extended time on assignments.  So, I don’t have to run myself into the ground trying to get this done by Tuesday morning, which is nice — because I probably won’t be able to pull an all-nighter on Monday evening.  If I skipped taking care of myself, I could do it, but it’s really not worth it; I’d be scattered for the next two days, at least.

I also found out another reason why I could have been tired yesterday.  I woke up early this morning with a cough, but was not awake enough to actually get up and drink anything to stop coughing.  By now, the cough has died down, but I’m still not feeling myself at 100%.  I’m pretty sure that whatever this cough is, though, it is making the circuits.  Last week and the week before, there were people coughing all over the place at my work; though truth be told, I probably picked it up somehow on public transit.  Particularly, that time when I ate after I’d touched the railing on the inside of the car.

sigh.

And I was doing so well, too.

Anyhow, now I have a touch of whatever everyone else has.  Don’t need to fear anything now, for I am one of them.

And, I just realized that I will actually need to get a piece of toned paper for Tuesday (I was unable to find both shades I needed anywhere, earlier in the semester).  I think the color I’m searching for is “Stone” (I need to verify this)?  That determines the place I need to visit first:  the big-box store did not have it, and has not had it at any time I’ve gone in there during this semester.

I’m also debating whether to get a stronger Ultramarine in watercolors — it might help, and it would probably be around $8 for a small tube.

At this point, though, I’m really not sure I know how to use color-mixing with watercolor, to the degree that I’ll be able to make a composition which looks okay.  What I do know is that I can use a grisaille technique with my Ivory Black and just go over all the shadows and lowlights with diluted black pigment.  It should be less permanent than using Sumi ink.  Then maybe I can go in with Ultramarine, and just kind of work my way through the hues?  Not sure.

Ehhh…I like working with the colors, but the colors are also my weak point.  I’m good at drawing, but I’ve only had two semesters of painting, not counting Color Dynamics (which used gouache).  Hmm.

I was told that it’s okay even if we do fail at this stage, because we take what we’ve learned from that, into the final project.

Gah.  I hate to fail, though.  But I guess it means that I’m taking risks? which is a good thing?  I think that it’s likely that the reason I’m writing this instead of drawing right now is that I’m kind of avoiding doing work where I don’t know what I’m doing…and this is probably going to come up again, on Monday.

Notations on notations

I would be drawing right now, but I’m really full…and am kind of not feeling it.

Last night I was able to move forward in my plot development as regards the story in relation to the symbol work we’re doing in Creative Process class.  I was actually surprised as regards where the the story went — I ended up writing a plot-outline prequel to my original idea.  I suppose there are three places I could note this:  one, on my computer but offline; two, here; three, in my art journal.

The art journal option is the most private but also the most vulnerable to accidental loss.  After that comes something I just write out in Word, or something, and save.  That’s relatively easy to lose, if I accidentally delete the wrong file and/or lose or corrupt my backups and/or have to nuke my hard drive.  The third option, leaving it on here, is the most secure against oblivion but also the most obviously public.  I suppose I could employ cloud storage as well; that might be a good option, and I know of a couple of secure places to do so.

The problem with writing things out digitally is that there is no space for addendums and images and diagrams the way there is, when working on paper.  The drawback to working on paper — other than the fact that it can be easily lost (though this can be remedied with high-res digital photography, uploaded to a portable archive) — is, majorly, organizational.  Right now I have all of this in a book, which helps where it comes to keeping things together (at least where I didn’t write things out on here or reference other websites or sources [like my AquaBee pad]), but I might want to look at multiple pages at once or rearrange elements, you know?

One of the advantages of paper is that I have 18″x24″ and larger sheets of paper, here (like the 30″ wide roll of white Kraft paper — though I’m not sure how long of a sheet I have).  I can diagram things that would be hard to visualize on a screen.  It just takes more work to shift things around, especially when working in ink.  Even colored pencil (instead of colored ink) doesn’t erase very well.

I would not have thought to use an art journal to work out key elements of a written story, series of stories, or graphic-novel story.  It does work, though — especially now that I can analyze what is being expressed through my images.

And it has been helpful, actually, thinking back to an old professor who said that all “stories” have a conflict.  Although this kept me from writing for a number of years (I didn’t take it very well; it seemed arbitrary), if we look at it this way:  All stories have a driving conflict; identify the major conflict first, and fill out the rest as you come to it (or as it comes to you) — it makes constructing the foundation of the story a lot easier.  And foundations come before details — something I’m learning in Figure Drawing and Watercolor.

What I thought she had been saying was that stories without conflicts were non-stories (or prose, at best), but if I turn the sleeve of that inside-out, so to speak, there’s some kind of function to that statement.  It actually looks like it fits something, or could be useful.

And, I’ve found, expressing conflict and tension might be a good counterpoint at least to trying to generate utopias and heavens in my art and writing.  It doesn’t mean I have to give up the latter, but people living in this world might find conflict and tension more engaging, as it reflects their experience.  I might be able to sneak in a little soothing, but do I really want to be like one of the Buddhist authors I know about who calmed me down in the middle of my existential angst?  What does he write when he isn’t doing that?  I mean, sure, it’s valuable, but it’s limiting.

In any case, dynamism and a little bit of being off-balance is not necessarily a bad thing.  It gives you a next place to step.

I suppose I have something to go on; it doesn’t seem like much.

I’ll write a little, even though I’m still tired.

Today has been, well, primarily composed of eating and sleeping.  I am pretty sure I know why.  It’s been tough to get motivation to do anything other than take care of basic tasks.

Last night, I did fill up a few pages in my art journal, trying to figure out where to go with my next assignment (Experimental Piece #2).  I’m pretty sure of the media — watercolor and/or water-soluble marker with waterproof marker over my underdrawing.  I have a design sketched out in my Canson sketchbook.  It isn’t paper which handles water well (and I don’t particularly want to use colored pencil or pastel), which has led me to the point of knowledge that next time I start an art journal, I need to do it with paper which can take washes.

What I photographed in my last post was my AquaBee Super Deluxe sketch book, from my Intermediate Drawing class.  It was expensive, but the alternative is drawing something really nice on cheap paper and then having to figure out how to transfer it onto good paper in order to color it with wet media.  (I’ve already experienced this once, where I drew a surprise dinosaur and then had to kick myself for not drawing it on Watercolor or wet-media paper.)

Colorwise, though, I’m kind of at a loss.

Conceptually, I’m not sure the draft I have is pure enough to work at, though I did kind of reach a new level of knowledge last night as to what I could have the sea represent.

I was kind of surprised at my revelation that what I was talking about with regard to the sea is a metaphor for creative process.  Opening a pearl oyster to gain the pearl, cuts off that pearl’s growth, and is parallel to encoding a message for the first time.  Keeping the idea in one’s mind is like leaving it to grow within the oyster; opening the oyster to view the pearl would seem to cut off some trail of nebulous subconscious development.  Kind of a Schrodinger’s Cat thing — does it exist before it’s seen?

Maybe that isn’t an apt metaphor, but to me it does seem that something happens to the story once it’s transformed from brain-state (open-ended) to discourse.

As regards the setup of the story:  I am thinking that perhaps I should make my protagonist human instead of human/dragon.  It’s possible that he is approached by aquatic life (maybe a dragon child) who trades magical pearls with him, for something else.  This could then set up a primary conflict, because maybe the kid isn’t supposed to be giving away the pearls (then again, maybe no one cares).  Secondary conflict:  the person (a Royal) who demands the pearls and gems can’t appreciate them as anything more than shiny/sparkly objects.

Gah.  Tired…

Was this intentional?

I…have just begun looking at my Tombows, the Stabilo 68 (bullet-point) and 88 (fineliner) pens, the Staedtler Triplus fineliners, and the Mars 3000 brush pens, plus water.  Biggest thing to note:  they are all water-soluble!

IMG_1842-w
Sorry about the photo adjustments…I’ve got kind of weird lighting right now.

Starting on the extreme top left, I was trying out the blues I have in Tombows.  I washed over these with water, then moved on to trying the Stabilo 68s (they’re actually 68, not 66, in reference to last night).  On the far top right are Staedtler Triplus (the top two) and then a Stabilo 88.

I’ve got to say that I’m really surprised at the performance of all of these markers.  The fineliners, though, especially — the hatch marks I made to get closer together toward the right, also made a graduated wash when I washed over them from left to right.

On the left, you can see double-ended arrows, indicating that I was thinking that the inks in these two different markers may have had similar sources.

From there I started working into the rest of them.  Right now, the biggest question is whether I will be able to blend these.  I haven’t tried it yet.  I’m thinking that I will try it, now.

I just feel the need to write, right now; no biggie.

I’ve realized, recently, that I’ve been making a lot of art, and photographing very little of it.  I need to change this — most of all, so my records don’t back up on me and, as at the end of Fall 2014, I end up photographing everything in non-optimal light because I have no more chances for daylight left.  (It was dark and raining, when I took those photos.)

Of course, though, it also helps to bring in new content here, as versus my kind of…circling the new information.

Right now…I’ve just gotten off of social media, where I’ve been reading journal articles on politics, most of which were found by looking through other websites.  It was amazing, as well:  Google’s algorithms are working in some way so that I got a hit from the blog site Feministing when I ran a search on “postmodernism.”  On one device, but not the other.  Strange, eh?  They must be looking at what I read…which can’t help but be mostly my own stuff.

That’s…kind of weird.

I presented my macrame piece, earlier tonight.  My prof seemed to like it.  🙂  I do need to narrow down my symbol, though…and decide what it is about water that I am most fascinated with.  One suggestion was the interaction of light on water, which a prior student worked with.  Not to cut the process of seeking my own answers, short.  Even though multiple people may have the same symbol, their works often turn out entirely differently because of the differing interpretations and relationships each of us have with our symbols.  I’ve also thought of doing something focusing on the coast, or the merging of land and sea and light.

I might want to go back to my original visions…the ones that inspired the project in the first place, and work from those, as versus working from the graphic-novel idea.  Of course, though, first I have to find the bits of my archives which contain this information.  It might be easier to find it online, instead of sifting through years of mostly ambiguously-named soft copies.

(Talk about needing a cataloging system…)

Right now, for me, it’s after 1 AM.  I didn’t take my medicine until about half an hour ago, so I’ll probably be kind of wiped out, tomorrow.  On top of this, I’m wondering about what to do for the next experimental piece…and whether to get brush markers which I have absolutely no hues in (warm red, warm and cool orange, cool violet, warm yellow).  I’m kind of going brush-marker-whacky, though.  Since I did experience this in colored pencils — and glass beads (both of which I have a somewhat bewildering assortment, now) — I’ve got to be sure that I really like to use the medium before I invest in a full spectrum of colors.  I haven’t experienced these pens to dry out quickly, but still, possessing does not equate to using.

My problem is, just, that I love the colors.  Seriously.  It’s like painting, for me, is an excuse to play with the colors.  🙂  Painting, though, is also where I went after I got sick of buying a new marker for every different hue, or blend of hues, or saturation level, or value, or a different size or shape or softness of nib.  It’s much easier (for me) to modulate colors with — even — watercolor, than it is to try and modulate it with markers.  The benefit of markers is that they are consistent (hopefully), and they are portable.  The biggest downside, besides the above, is that they generally are not archival.

I should remember, though — I have more markers than the Pitt pens, and I can use them together.  However, I only expect that the Pitts, Copics (I only have these in cool greys, WHY DID I DO THAT — if you get them at all, get the Ciaos first; you don’t need every single dilution of grey unless you’re seriously working monochrome), Chartpaks (some pastel tints), and Microns will stand up to water.  The Stabilo pens (66 and 88 — or, bullet point and fineliner), I’m pretty sure will not — and the Staedtler Triplus, I haven’t tried.  Though:  even Pitt pens will bleed under a wash, even if they dry overnight, another student told me last semester.  And the Tombows and Staedtler Mars Graphic 3000 markers are meant to be water-soluble.

Maybe I should do some experimentation with my markers plus water.  That could be an interesting project, for the morning.  It isn’t like I don’t have enough watercolor paper!  (I got a few different square blocks when I was thinking that I would work at mandalas through Fall 2014.  But if you’re working asymmetrically, there are more interesting dimensions of paper.)

And actually, now that I look at this — colored Micron brush pens (or Copic SP or something, for those hard to find colors) might be better for the tones I’m missing, than Pitt pens.  I might then actually be able to use watercolor over them, instead of hoping to use watercolor over them while knowing that the most basic one bleeds.  Also, all of the hues I’m missing seem to be accents, relatively…

[[I’m thinking of making a 12″x12″ watercolor painting and draping a macrame net over it, for my second project…don’t know how it will turn out.  But it could be nice to wrap some of the threads in embroidery floss, or use perle cotton as the line– or go flat like the piece I did tonight, to display the pattern; though I think I would like to introduce more depth, pictorially.]]

Figure Drawing, today, went relatively well.  I’ve had no pain from my hand, and it was easy enough to wear a bandage and glove to cover my cut during class.  I really need to get on photographing all of those drawings, though.  There’s just so much of it…especially when you’re working on 10 two-minute poses as a warm-up…and that’s just the first 20 minutes out of four hours.

I should probably get going.  The 2 AM mark has been surpassed, and I would like to keep some semblance of being a functional human before turning in…

Finished Experimental Piece #1: now to draw. :)

Earlier tonight, I finished the piece to be presented tomorrow for my creative process class.  It turned out better than I expected, but the unfortunate point is that, because it’s behind glass, I can’t get a photo of it without reflections and glare.  The positive point is that I actually don’t have to turn in the photo, tonight.  With natural light, I may be more able to get some kind of image without photobombing it by accident.

So…the piece I’m talking about is the one connected with water, the circular macrame net.  As I was working on it, I came to a number of possible variations which would be interesting to try and attempt…principally with varying the lengths of the two legs attached to each knot, and the shapes of the spaces bordered by the lines.  Asymmetry in line length would be cool, and I did use that once I reached the outer borders of this piece, which helped it not be too boring…but something that incorporated spiraling or directional rather than radial lines, now that could be really interesting.  Not to mention, the possibility of going 3-D, though then I’d have to work on top of a form, like a balloon or bit of styrofoam.  I’ve already found how easy it is to attach a new line to any of my vertices…lark’s head knots are nice.

I do only have so much of the hemp I’m using now.  It inhabits the narrow border between twine and yarn.  The place I got it from closed down; they were a high-end yarn store which kept moving from location to location.  I have tried using the hemp from the nearby chain craft store’s jewelry section, but it feels weaker (I broke one line very close to the beginning of my trial piece), and less apt to bend evenly.  It might be possible to soften it by dragging it over the edge of a table or board, but I’m really not sure.  Its texture really reminds me of rolled paper, while the hemp I used in the final piece reminds me of linen.

So I have this kind of radial net with beads on it…on top of a gradated background which I collaged together out of a bunch of pieces of colored cardstock (which range from light blue-green to black).  That is backed by a piece of 1/4″ foam-core; the ending lines of the macrame piece are knotted together behind this.  Behind that is the backing board of the frame.  I used my #2 X-Acto blade for the first time — it’s a mid-to-heavy-duty blade that was strong enough to go through the foam core and through my cardstock.  I just hope I didn’t ruin my cutting mat by being too heavy-handed.

I used a 13″x13″ shadow-box frame for a 12″x12″ image; basically, my 12″x12″ hardboard ended up being too big, and so I had to cut off the corners of what I did put in, so it would be able to be mounted.  Hence, the foam-core (I wasn’t sanding hardboard, tonight).

I really should have realized that the edges of the glass at the front of the frame weren’t safe to touch with my bare hands.  I lifted the glass up to inspect it, and a couple of minutes later, noticed that my finger felt strange.  I looked down and, yes, I had a slit in my finger maybe 3/8″ across.  Annoying, but not very painful.  The big thing is going to be just keeping debris (like charcoal, and the pumice from the class soap) out of it tomorrow…but I do have gloves, and it should be sealed by the time I get back to Watercolor class.

I still haven’t looked at these library books.  If I do anything tonight, it’s either going to be playing in my art journal or looking at that.  Or, there is also a concept I was introduced to in Watercolor class, which had to do with the balance of positive and negative space…which I’m already integrating into work I’m doing now.  For instance, I had to pay attention to the shape of the negative spaces between my lines while doing the macrame, in order to maintain symmetry.

(The term for this [“Notan”] was made up by Westerners in relation to the Western analysis of “primitive” art [that is, it isn’t a Japanese term, even though it uses Japanese words]…which is what I found before I figured I just wanted to know what my prof was talking about in practicality, aside from the politics.  The politics are curious, though, speaking as a person who isn’t white…and who is descended from the culture the Westerners tried to implicate in their naming of this aesthetic.  My teacher isn’t white, either, so that kind of amplifies the curiosity.

(And…it’s really normal for every culture I identify with to be implicated as “primitive” by culturally dominant historical sources in the U.S.  If I got mad every time I saw it, I’d probably avoid learning about all history; which would then make it more difficult for me to have a larger view of the processes of racism as they unfold in linear time.  That, in turn, would make it harder to deal with them in the present.)

I obtained a workbook on “Notan,” as my prof did say that it was an important concept to grasp, and was implicated in all watercolor; but so far all I’ve done is read through the first assignment.  I get that the point of the concept is to pay attention to the ground as much as the figure; and use of negative space is one of the things I really need to work on.  I just don’t know how much of my time I’ll actually be using, playing around with figure/ground relationships in the near future.  Probably, though, I could work it into my Watercolor training.

I feel like I should go draw.  I think I’ll go do that.  🙂